Girls who like Boys who like Boys – Ethnography of ... - Yuuyami.com

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essentially the same, but what is interesting are the ways in which these terms are used. Exceptions to my general usage of both terms may happen if a collaborator calls a fandom, or a fiction “yaoi” even though it is westernbased. In such a case, the act of calling it “yaoi,” will tell us more about the person who is using the terminology. (For example, she/he may be using the term “yaoi” because she/he is not only a fan of slash/yaoi, but also a fan of Japan, and thus uses Japanese words in everyday context). In fact, the term has been used in English-speaking Internet domains to such a degree that it has become adopted into common fan-language and terminologies. 3 As discussed in several academic studies (the most prominent are Bacon-Smith 1992; Jenkins 1992; Penley 1991), the large majority of slash/yaoi fans are heterosexual women who engage in the online community either through creation of fanworks (such as fanfiction or fanart) about these characters or through reaction to or appreciation of these fanworks (reactions range from editing and critiquing, to simply perusing). The slash fandom, existing since the seventies, has been a very personal and magazine based fandom before the Internet. Earlier studies investigating these so-called “‘zine fandoms” were frequently conducted in direct face-to-face interaction with the female authors. This prevalence of women is reinforced by fans’ profiles online: most of the fans actively participating are women, and the few men in 3 This is one of the reasons why “yaoi” as opposed to other terms derived from foreign languages will not appear italicized; it has become, essentially, common to use in every-day fandom conversation, and the genre has a very large Western following, but is equally understood by slash-only fans. 14
the fandoms are well-known. Slash- and yaoi-conventions (or conferences), to which fans may travel if they have the time, support evidence that fans are mostly female. Minotaur, one of the few men in the fandom, is renown for creating a database answering questions about homosexual intercourse, and records his experiences at his first slash convention accordingly: Anyway, when I went to my first slashcon a couple of years ago, I was shocked and dismayed to discover that I was the only guy there. I'm still amazed that there are so few guys into this stuff. So there I was, sitting innocently minding my own business, with all these insane (in a good way, mind you) women wandering around talking about queer sex.... the next thing I knew, I was being shoved up against a wall and peppered with “Can two guys...” questions. (From An Interview with Minotaur 2000 4 ) Furthermore, the equivalent of yaoi specifically, in Japan at least, is a genre produced commonly by women for women, although under a different terminology (Thorn 1993). 5 One of the more common terms, shounen ai or “boys’ love,” is frequently used in Western fandoms either as synonym for yaoi, or as a juxtaposed term, connotating soft “boys’ love” as opposed to hard sexual description. Most theories tend to structuralize, categorize, and over-generalize slash fandoms. That is “the nature of the beast,” but it does not keep us from striving for more complexity and analysis. Depending on which field the scholar is from or writes for, the theories will be, obviously, angled in that 4 http://www.geocities.com/cc_ssd/minotaur.html -- last accessed 12/08/2003 5 Commonly known as shounen ai (boys’ love) or june (named after the pioneering male/male manga magazine published in Japan), both of these genres are usually published as shoujo manga or comics for girls. 15
Page 1 and 2: Girls who like Boys who like Boys -
Page 3 and 4: Table of Contents I. Introduction..
Page 5 and 6: more stories, and sharing funny tid
Page 7 and 8: yet understandable enough, to intro
Page 9 and 10: justifiable, and believable. 1 It i
Page 11 and 12: well as the act of worship (activel
Page 13: This leads Maygra 2 , a prominent f
Page 17 and 18: equality and beyond social stereoty
Page 19 and 20: uses his authorial position to loos
Page 21 and 22: fandoms, and are 2) people outside
Page 23 and 24: that writing in and for Anthropolog
Page 25 and 26: in ethnographic narrative, which ha
Page 27 and 28: very analytically thereafter. Jenki
Page 29 and 30: web. In a way the nature of convers
Page 31 and 32: affected not simply by the object o
Page 33 and 34: This is emphasized by how they view
Page 35 and 36: participation: In order to limit se
Page 37 and 38: order to find an earlier post, one
Page 39 and 40: academic audience might find such a
Page 41 and 42: linked, text with the connections o
Page 43 and 44: consumers: Consumers only passively
Page 45 and 46: fandoms, and an active member in ot
Page 47 and 48: proud of her ability to slash every
Page 49 and 50: accompanying it online, would be to
Page 51 and 52: Harry Potter fandom, since I find t
Page 53 and 54: We were talking recently about our
Page 55 and 56: they had no sense and the plotlines
Page 57 and 58: the 5 th Harry Potter book. In any
Page 59 and 60: discussed in the following sections
Page 61 and 62: These OOC chats in Yuri’s game ar
Page 63 and 64: nor as an act for the game specific
Page 65 and 66:
discussion of both themes in the ne
Page 67 and 68:
of HP fandom, two significantly. Fi
Page 69 and 70:
will be portrayed as OOC, and a sto
Page 71 and 72:
enough, let's go!” Canon is, with
Page 73 and 74:
use several different ideas of plag
Page 75 and 76:
keeps very busy. Once back at home
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make it have a plot, but it didn’
Page 79 and 80:
just acknowledge that the character
Page 81 and 82:
Though many would answer that “mo
Page 83 and 84:
For both of these fandoms Eiko freq
Page 85 and 86:
and even fewer fans will publish wh
Page 87 and 88:
authors she likes, and then utilize
Page 89 and 90:
who does not participate with other
Page 91 and 92:
of identity as fan, much as an acad
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aggression (and, depending on the d
Page 95 and 96:
found friends through her activitie
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formation. In the same sense that t
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meaning, no climax.” What is inte
Page 101 and 102:
It’s not something that’s immed
Page 103 and 104:
nonetheless. However generally, she
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mood” when she will want to read
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characters, I was afraid that once
Page 109 and 110:
other groups “censoring” or “
Page 111 and 112:
III. Exploration A. Psychology and
Page 113 and 114:
emotionally speaking, I wavered bet
Page 115 and 116:
it at all, but simply as a regular
Page 117 and 118:
SY: Like a self-insertion? Red: No
Page 119 and 120:
“eeeeuw!” But that was before I
Page 121 and 122:
have that initial reaction to slash
Page 123 and 124:
which Barb has remarked on in the p
Page 125 and 126:
slash fanfic did for Red and me, it
Page 127 and 128:
historical members of the shinsengu
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Rusty to cease, as these dialogues
Page 131 and 132:
connections with others will only s
Page 133 and 134:
period as well as engaged in constr
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than the real-life connections to o
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“not much of a fan” is greatly
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egarding this topic) friends. Howev
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advanced the point that a fan lurki
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and pairings in our shared fandoms
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“Internet fandom” is what essen
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C. Mindset How can I map out this m
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IV. Interplay of modes - or conclus
Page 151 and 152:
e used toward understanding multipl
Page 153 and 154:
V. Appendices A. Appendix A: Fandom
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SG-1 Tokyo Babylon Weiss Kreuz Wolf
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ANC angst angstfic anime anime musi
Page 159 and 160:
difference between good and bad fic
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C&C canon casual fan, casual CBFFAs
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criticism constructive feedback con
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drabble are based on pre-existing s
Page 167 and 168:
activities. Science fiction fandom
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or to the actual act of turning a m
Page 171 and 172:
GWLBWLB H sugar and spice. We are n
Page 173 and 174:
LEO, L.E.O. lemon lemonade lime lis
Page 175 and 176:
meta-MST MEverse MFEO, M.F.E.O. mir
Page 177 and 178:
Regardless, if a fan calls you a mu
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ose OT OT OT3 otaku The filk equiva
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Continuum PWP RACC RACMX Ratboy rat
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SCA, SCAs schmoop self-infliction s
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"degeneration" of smarm into near-s
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them all, let alone finish them! Na
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al Couple Unnamed Faction Unusual S
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VI. Bibliography Works Consulted Pr
Page 193 and 194:
1997 “Culture in the Plural”. M
Page 195:
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